Abstract

Philosophical hermeneutics is underrepresented in the literature on music performance. Given the shift from Cartesian subjectivism to anti-subjectivism in the contemporary literature on improvised musical performance, it is somewhat surprising that hermeneutics does not figure more prominently. Since hermeneutics is characterized by a dialectical to-and-fro—the hermeneutical conversation—between interpreter and subject matter, it would appear to offer a strong foundation for an anti-subjectivist account of improvised musical performance. The aim of this essay is to offer such an account. Drawing primarily on the work of Hans-Georg Gadamer and Luigi Pareyson, this essay works through ideas related to the performer’s interpretation of pre-composed musical works, the context and content of the performance event, and the relational character of musical performance. It is argued that improvised musical performance necessarily relies upon a certain hermeneutic relationality.